Stanza 1.—The first line of this song, the opening poem in the Divan, is borrowed from an Arabic poem by Yezid ibn Moawiyah, the second Khalif of the Ommiad line. This prince was held in abomination by the Persian Shi’ites, both as the head of the Sunnis and because he was the cause of the death of Hussein, the son of Ali, whom the Shi’ites regarded as the rightful successor to the Khalifate. Hafiz was frequently reproached for setting a quotation from the works of the abhorred Yezid at the head of his book, a reproach which he is said to have met with the reply, that it was good policy to steal from the heretics whatsoever they possessed of worth.
“In this country (i.e. North-Eastern China) is found the best musk in the world, and I will tell you how it is produced. There exists in that region a kind of wild animal like a gazelle. It has feet and tail like the gazelle’s, a stag’s hair of a very coarse kind, but no horns. It has four tusks, two below and two above, about three inches long, and slender in form, one pair growing downwards and the other upwards. It is a very pretty creature. The musk is found in this way: when the creature has been taken, they find at the navel, between the flesh and the skin, something like an imposthume filled with blood, which they cut out and remove, with all the skin attached to it; and the blood inside this imposthume is the musk that produces that powerful perfume. There is an immense number of these beasts in the country we are speaking of. The flesh is very good to eat. Messer Marco brought the dried head and feet of one of these animals to Venice with him.”—Travels of Marco Polo.
There is a play of meaning upon the musk which is obtained at the cost of the deer’s life-blood and the tears of blood which the lover weeps for his mistress.
Stanza 2.—The title which Hafiz gives to the Tavern-keeper is Pir-i-Maghan-literally, the Old Man of the Magians. The history of this title is an epitome of the history of Persian faiths. It indicated primarily the priest of the first of Persian religions, that of Zoroaster. When the Mahommadans invaded Persia, and the preachers of the Prophet supplanted the priests of Zoroaster, their title fell into disrepute, and was degraded so far that it came to mean only the keeper of a tavern or caravanserai. But in this sense it gradually regained the honourable place from which it had fallen; for the keepers of such places of resort were, for the most part, men well acquainted with the “ways of the road and the hostelry.” In their time they may themselves have served travellers upon their journey; they had heard and learnt much from the wayfarers who stopped at their gates, and they were able to guide others upon their journey, sending them forth refreshed and comforted in body. And here the Sufis took up the ancient name and used it to mean that wise old man who supplied weary travellers upon life’s road with the spiritual draught of Sufi doctrine which refreshes and comforts the soul.
Stanza 1.—This poem has been expounded to me as a description of the poet’s quest for love. In an allegory he shows how he looked for it in vain from that image of earthly devotion, the nightingale; he warns men that it comes not but by humiliation and sorrow; he questions the magic garden, but its breezes cannot answer him; finally, he concludes that love is not that which lies upon the lips of men, and calls upon the Cup-bearer to silence their idle talk with the wine of divine knowledge.
Stanza 2.—The Garden of Irem was planted by the mythical King Shedad, the son of Ad, the grandson of Irem, who was himself the son of Shem. The tribe of Ad settled in the sandy deserts near Aden, where Ad began the building of a great city which his son completed. Round his palace Shedad planted a wonderful garden which was intended to rival in beauty the Garden of Eden. “When it was finished he set out with a great attendance to take a view of it, but when they were come within a day’s journey of the place they were all destroyed by a terrible noise from heaven. . . . The city, they tell us, is still standing in the deserts of Aden, being preserved by Providence as a monument of divine justice, though it be invisible, unless very rarely, when God permits it to be seen, a favour one Colabah pretended to have received in the reign of the Khalif Moawiyah, who, sending for him to know the truth of the matter, Colabah related his whole adventure: that, as he was seeking a camel he had lost, he found himself on a sudden at the gates of this city, and entering it, saw not one inhabitant, at which being terrified, he stayed no longer than to take with him some fine stones which he showed the Khalif.”—Sale’s Koran.
Sudi says that Hafiz composed this poem in a beautiful garden belonging to Shah Shudja, and called by him the Baghi-Irem, after Shedad’s legendary Paradise.
“Il y avait jadis en Perse un grand roi nommé Djem ou Djemshid. It régna sept cents ans; je ne saurai vous dire à quelle date au juste, mais ’tant qu’il regna, it n’y eut dans son empire ni mort, ni maladie, ni vicillesse, et tous les hommes marchaient dans la taille de jouvenceaux: de quinze ans; it n’y avait ni chaleur, ni froideur, et jamais ne se desséchaient les eaux ni les plantes.’ Mais le pauvre Djem n’avait point la tête solide, et, comme it faisait des immortels, il se crut Dieu et voulut être adoré. Aussitôt, le Fari Yazdan, c’est-à-dire la gloire royale qui vient de Dieu, l’abandonna; un serpent à trois tétes, nommé Zohab, vint de l’Arabie et lui prit son tréne; it s’enfuit dans l’Inde et y resta chaché mille ans durant; puis un beau jour, s’étant aventuré hors de sa retraite, il fut livré au serpent, qui le scia en deux avec une arête de poisson. Entre autres splendeurs, le roi Djemshid, au temps de sa splendeur, possé-dait une coupe magique où il voyait tout l’univers et tout ce qui s’y passe. Certains savants prétendent que cette coupe était le soleil qui voit toute chose; d’autres, que c’était un globe terrestre mis au courant, et il me souvient qu’il y a deux ans, prenant le thé dans un café de Stamboul avec un sage d’Isfahan, nommé Habib, la conversation tomba de la tasse de thé à la coupe de Djemshid, et Habib, me mettant le doigt au front, me dit: Djam-i-Djemshid, dil-i-agah: ”la coupe de Djemshid c’est le cœur de l’homme de science.“—Darmsteter, ”Lettres sur l’Inde.”
A few miles from Peshawar, Darmsteter goes on to relate, there is a dried-up pond called the Talab i Djemshid, into which the King is said to have cast his magic cup. The head man of the village told the French traveller that a knife had been discovered there bearing this inscription: “This pond was dug by me, Djemshid, five hundred years before the Hejra.” “Elle n’a pas été retrouvée, la coupe de Djemshid,” adds Darmsteter, “non plus que la coupe du roi de Thulé, c’est pour ça qu’il n’y a plus parmi les hommes ni science, ni amour.”
Djemshid is supposed to have built Persepolis. There is a legend that his cup was found buried in its foundations, and that it was formed of an enormous turquoise. It is said that he was the first to drink wine, and that he recommended it to his subjects as a health-giving beverage. He, too, was the father of chemistry and the possessor of the philosopher’s stone.
Stanza 1.—King Solomon sent the lapwing or hoopoe as his messenger to Bilkis, Queen of Sheba. The story is told thus by Al Ta’labi, in his Stories of the Prophets. (The lapwing had already made a journey on his own account, and had brought Solomon news of the great Queen, and told him that she was not a worshipper of the true God.) “Then Solomon wrote a letter saying: From the servant of God, Solomon, son of David, to Bilkis, Queen of Saba, in the name of God the Merciful, the Compassionate, peace be upon him who follows the right road. After which he said :Behave not insolently towards me, but come unto me humbled. And he strewed musk upon it and sealed it with his seal. Then he said to the lapwing: Fly with this letter and deliver it unto them, then turn away, but remain near them and hear what answer they make. And the lapwing took the letter and flew with it to Bilkis. And she was in the land which is called Marib, at a distance of three days’ journey, and she had entered into her castle, and the gates of it were shut. For when she slept she was wont to shut the gates and to take the key and lay it beneath her head. So the lapwing came unto her, and she was asleep, lying upon her back; and he laid the letter upon her breast. Wahb ibn Manabbih says that there was a window opposite to the sun so that the sunbeams fell through it at dawn, and when she saw the sun she was wont to bow down and worship it. And the lapwing went to this window and blocked it up with his wings. And the sun rose, but she knew it not. And she thought that the sun was late, and stood up to look for it. Then the lapwing threw a leaf upon her face. And they say that Bilkis took the letter and she was able to read the writing. But when she saw the seal she trembled and bowed down, because of the power of Solomon that was in his seal. For she knew that the power of him who had sent the letter was greater than hers, and she said: Lo, here is a king whose messengers are the birds verily he is a mighty king.”
Stanzas 5 and 6.—The accepted explanation of these lines is that by the glass Hafiz means his own heart, which he sends to his mistress that she may see that her own image is reflected in it; but I prefer here (and indeed for the whole poem) a mystical interpretation. The heavenly voice tells him to seek for comfort in Sufiism, and bids him look upon the mirror, for he shall see God himself reflected in it—which is only another way of putting the doctrine that man and God are one. The poet’s reputation has gained him admittance into the company of the Sufis, let him hasten to them, for they shall give him that for which he seeks.
A horse and robe is the Eastern gift of honour. Lane in one of his notes to the “Arabian Nights” quotes a significant story concerning these gifts: “A person chancing to look at a register kept by one of the officers of Harun al Rashid, saw in it the following entry: ‘400,000 pieces of gold, the price of a dress of honour for Jafar ibn Yahya, the Vizir.’ A few days after he saw beneath this written: ‘Ten kerits, the price of naphtha and reeds for burning the body of Jafar ibn Yahya.’ (The kerit of Baghdad was worth a twentieth part of a gold piece.)
Put not your trust in Eastern princes!
Verse 3.—The Persians describe the dimple in the chin of their mistress as a dangerous well filled with her lover’s tears, into which, when he approaches her mouth, he may fall and be drowned.
Verse 6.—“Oh rose, tearing thy robe in two”: that is, bursting into flower beneath the warm breath of the wind that blows from where thou art.
Stanza 1.-When the conqueror Timur entered Shiraz it is related that he summoned Hafiz before him and said: “Of all my empire, Bokhara and Samarkand are the fairest jewels; how comes it that in thy song thou hast declared that thou would’st exchange them against the black mole on the cheek of thy mistress?” Hafiz replied: “It is because of such generosity that I am now as poor as thou seest.” The Emperor was not to be outdone in repartee: he sent the poet away a richer man by some hundreds of gold pieces.
“Cest du Molière renversé,” says Darmsteter of these lines, and quotes
“Si le roi m’avait donné
Paris sa grande ville,
Et qu’il me fallût quitter
L’amour de ma mie,
Je dirais au roi Henri:
Reprenez votre Paris,
J’aime mieux ma mie, ô gué,
J’aime mieux ma mie!”
In the garden of Mosalla, Hafiz lies buried: the stream Ruknabad flows near at hand.
Stanza 2.—The Luli or gipsies, as they were contemptuously called, were a people of the tribe of Keredj, of Indian origin, who inhabited the country between Shiraz and Isfahan. Their young men and maidens were famous for their beauty and musical accomplishments, and furnished minstrels and dancing girls to the wealthy inhabitants of Shiraz. Sir Henry Layard met with a similar tribe near Baghdad. “They bear,” he says, “a very bad reputation on the score of morality, and according to general report lead very dissolute lives. The dancing boys and girls who frequent Baghdad, and are notoriously of evil fame, come principally from this district. Whilst we were resting at the caravanserai a party of them came to perform their indecent dances before us, as they were in the habit of doing on the arrival of travellers.”—Early Adventures.
In Turkestan there was formerly an institution called the Feast of Plunder. When the pay-day of the soldiers came round, dishes of rice and great quantities of cooked food were prepared and set out on the ground. The soldiers then rode up, armed as if for battle, and carried off the food with mimic violence. Thus they made reparation to their conscience for accepting a pay lawfully earned, and reminded themselves that rapine was their true profession.
Stanza 3.—Joseph is the Oriental type of perfect beauty. The story of his relations with Zuleikha, Potiphar’s wife, is one of the famous love stories of the East; Jami made it the theme of a long metaphysical poem. The part played by Zuleikha in Persian tales is far more creditable than that which is assigned to her either in the Bible or the Koran.
Every translator of Hafiz has tried his hand upon this song, which is one of the most famous in the Divan. It is only right to inform the reader that the original is of great beauty.
The whole poem has received a mystical interpretation which seems to me to add but little to its value or to its intelligibility; but in case any one should wish to gather the higher wisdom from it, I may mention that the mole, powder, and paint, of which a beautiful face does not stand in need, represent the ink, colour, dots, and lines of the Koran; and this is the explanation given to the couplet concerning Joseph and Zuleikha by a thorough-going Western mystic: “By reason of that beauty daily increasing that Joseph (the absolute existence, the real beloved, God) had, I (the first day) knew that love for him would bring Zuleikha (us, things possible) forth from the screen of chastity (the pure existence of God).” The learned translator seems to have felt that his version presented some difficulties, and he adds for the use of his weaker brethren the following comment: “In the world of non-existence and possibility, when I beheld the splendour of true beauty with different qualities, I knew for certain that Love would take us out of the ambush.” This makes everything clear.
Stanza 1.—Those who have seen a Persian garden will not find it difficult to understand why it should play so large a part in Persian poetry. Often enough you may pass with one step out of a barren desert of dust and stones into one of these green and fertile spots, full of violets in the spring, and of roses and lilies in the early summer; and from the blinding glare of a Persian sun into a cool and shadowy retreat planted with great plane-trees. The water which flows in numberless streams through the garden, and leaps in countless fountains, has worked all the miracle. The change from desert to flowery paradise is one of those strong contrasts so common in the East which take hold of the imagination of all who see them.
Stanza 3.—That is, do not attempt to light the torches of a Mahommadan monastery from the lamp of a Jewish synagogue. One of the most famous of the Prophet’s sayings is: there is no monasticism in Islam. Nevertheless, from the time of Abu Bekr and Ali onwards, such religious associations grew up and flourished. Nearly all the celebrated doctors of whom the Sufis boast in the first six hundred years after the Hejra belonged to them.
“Verily our messengers write down that which ye deceitfully devise,” says the Koran (chap. x.). Two guardian angels attend every man and write down his actions; they are changed daily and a fresh pair takes their place. The books which they have written shall be produced on the Day of judgment.
Stanza 4.—It was this verse which decided the right of Hafiz to receive honourable burial.
Stanza 3.—When God had created man and made him wiser than the angels, he bound him to himself by a solemn treaty. “Am I not thy Lord who has created thee?” he demanded, and man answered “Yes.” But the Arabic word bala, which signifies assent, means also sorrow, and they say that the first of our fathers knew full well what a terrible gift was that life which he had received from his Lord, and sealed the treaty with a seal of grief. Therefore since the earliest day, life and sorrow have gone hand in hand, bound together by the first great pact between God and man.
Stanza 4.—Compare François Villon’s rough and powerful treatment of the same theme:—
“Où sont de Vienne et de Grenobles
Le Dauphin, les preux, les senés?
Où de Dijon, Sallin et Dolles,
Les sires et les fils aînés?
Où autant de leurs gens privés,
Hérauts, trompettes, poursuivants?
Ont-ils bien bouté sous le nez? . . .
Autant en emporte le vent!”
Solomon, the type of human greatness, is the King whose mastery has left nothing behind. He harnessed the wind as a steed to his chariot, he spoke with the birds in their own tongue, and the wise and magnificent Assaf was his minister. Upon his seal was engraved the name of God which is unknown to men and before which the Jinn and the Angels must bow down. It was with this seal that he fastened up the bottles in which he imprisoned the Jinn—-those bottles which those fishermen in the “Arabian Nights” pull up in their nets.
Stanza 1.—This poem is addressed to the Vizir of Sultan Oweis of Baghdad, Hadji Kawameddin, who founded a college for Hafiz in Shiraz. With true Persian exaggeration the poet must needs write to his patron much in the same terms in which a lover would write to his mistress; but his words, though they sound strangely to our ears, are nothing more than the Oriental way of saying, “Awake, my St. John!”
The mystical interpretation of the first few lines is said to be: As the wine glows in the cup like the reflection of a ruddy cheek, so in the goblet of my heart I have seen the reflection of God, the true Beloved.
Stanza 6.—It is related that upon a certain occasion when Hafiz was feasting with the Vizir in the latter’s garden, a servant handed to him a goblet of wine, and as he took it he saw in it the reflection of the crescent moon overhead. The incident suggested this verse to him. I should say that the anecdote was of doubtful authenticity.
This song is not to be found in the best editions of the Divan, and is believed to be spurious; but it is printed in most of the popular editions, and is as widely known as any of the poems which pass with a better right under the name of Hafiz. It is set to a soft and well-nigh tuneless air which sounds like dream music, or the echo of something very beautiful coming from a great distance, the singer ending on an almost whispered repetition of the first exquisite phrase. I have been told that the boatmen on the Ganges sing it as they row, and the monotonous accompaniment of the water under the oars must be even more fitting to the melody than that of the lute strings.
Stanza 2.—I have found no explanation of these difficult lines, and, for want of a better, I venture to suggest the following: the Garden of Irem, as has been said in the Note to Poem II., was a mimic Paradise constructed by a certain fabulous King Shedad, who wished to be considered a rival to his Maker by his fellows, for which temerity a swift and sharp judgment fell upon him; the River of Life is one of the many streams which waters the divine Paradise. To my thinking, Hafiz takes the one as a type of the wildest human ambition, the other as a part of the most beautiful vision which the mind of man has conceived. And to what does it all amount? he asks. Only to this: that we are like to one who sits and dreams upon the banks of a mighty and resistless river, fed from many sources, and sings, if he be wise, his song of praise, and so departs.
Stanza 4.—The river Kausar is another of the streams of Paradise; indeed, it is said to be the central spring from whence all the others flow. A part of its waters are led into a great square lake, a month’s journey in compass. On the banks of this lake the souls of good Mahommadans rest and find refreshment after they have crossed the terrible bridge, sharper than the edge of a sword, which is laid over the midst of Hell. The waters of the lake are whiter than silver and sweeter than musk. Round it are set as many cups as there are stars in the firmament, and he who has drunk of it shall thirst no more.
Stanza 1.—Hafiz wrote this poem upon the death of his son.
Stanza 3.—Rosenzweig, in his edition of the Divan, says that the allusion is to the dust and water which God kneaded into the body of Adam, and that, out of derision, Hafiz; calls the human body a house of joy.
The moon, according to Persian superstition, has a baneful influence upon human life.
Stanza 4.—Rosenzweig says that “I had not castled” means that Hafiz; had not taken the precaution of marrying his son, and so securing for himself grandchildren who would have been a consolation to him on their father’s death. For that reason he had nothing more to lose, and was indifferent as to what his next move in the game should be.
Stanza 3.—“Night is with child”—a Persian proverb extraordinarily suggestive of the clear, deep, Eastern sky. The sight seems to slip through between the stars and penetrate a darkness which is big with possibilities.
Stanza 2.—These lines are exceedingly mysterious, as, indeed, is the whole poem. I have looked for an explanation of them in other editions of Hafiz, but have found little more than a bare translation of the Persian words. For the meaning of this stanza, see Introduction, p. 74.
Sidreh and Tuba are two trees in the Garden of Paradise. The former is the abode of the angel Gabriel. Concerning the latter Sale says: “They fable that it stands in the palace of Mahommad, though a branch of it will reach to the house of every true believer; that it will be laden with pomegranates, grapes, dates, and other fruits of surprising bigness, and of tastes unknown to mortals. So that if a man desire to eat of any particular kind of fruit, it will immediately be presented to him; or if he choose flesh, birds ready dressed will be set before him, according to his wish. They add that the boughs of this tree will spontaneously bend down to the hand of the person who would gather of its fruits, and that it will supply the blessed not only with food, but also with silken garments and beasts to ride on, ready saddled and bridled and adorned with rich trappings, which will burst forth from its fruits; and that this tree is so large that a person mounted on the fleetest horse would not be able to gallop from one end of its shade to the other in a hundred years.”—Introduction to the Koran.
Stanza 4.—He means either facilis descensus Averni, or, more probably, that a great number of those upon whom the orthodox look askance will be found to have equal claim to reward, since the distinction between Sufi and orthodox is in fact nothing.
Stanza 5.—“The lovers of wine”—that is to say the Sufis, who will be equally indifferent whether he comes to them with or without trailing clouds of human approbation, since they will judge of his worth by a different standard.
Stanza 3.—The allusion is to the expulsion of Adam from the Garden of Eden.
Stanza 4.—Concerning the Last judgment, a beautiful tradition relates that there are seven degrees of punishment, but eight of blessedness, because God’s mercy exceeds His justice.
Stanza 1.—Blue is the Persian colour of mourning. Hafiz compares the weeping lovers, clad in robes of grief, to a bed of violets, and as the violets bow their heads when the wind passes over them, so they bow down when their mistress passes by with flowing curls.
Stanza 3.—“Erghwan,” the Syringa Persica or Persian lilac. In the early spring, before it comes into leaf, it is covered with buds of a beautiful reddish-purple colour.
“Khizr,” a prophet whom the Mahommadans confound with Phineas, Elias, and St. George, saying that his soul passed by metempsychosis successively through all three. He discovered the fountain of life and drank of it, thereby making himself immortal. It is said that he guided Alexander to the same fountain, which lay in the Land of Darkness. It was he, too, for whom Moses set out to seek when he had been informed by God that Al Khizr was wiser than he. He found him seated on a rock, at the meeting of the two seas, and followed him for a time, learning wisdom from him, as is related in the eighteenth chapter of the Koran. His name signifies Green; wherever his feet rested, the earth was covered with green herbs.
Hafiz looked upon the prophet Al Khizr as one of his special guardians. About four Persian miles from Shiraz there is a spot called Pir-i-Sabz, the Old Green Man; whosoever should pass forty nights in it without sleeping, on the fortieth night Al Khizr would appear to him and confer upon him the immortal gift of song. Hafiz in his youth fell in love with a beautiful girl of Shiraz called Shakh-i-Nahat, and in order to win her heart he determined to meet Al Khizr and receive from him the art of poetry. For thirty-nine mornings he walked beneath the windows of Shakh-i-Nahat, at noon he ate, then he slept, and at night he kept watch, undismayed by the terrible apparition of a fierce lion which was his nightly companion. At length, on the fortieth morning, Shakh-i-Nahat called him into her house and told him that she was ready to become his wife, for she preferred a man of genius to the son of a king. She would have kept him with her, but Hafiz, though he had gained his original end, was now filled with desire to become a poet, and insisted upon keeping his fortieth vigil. That night an old man dressed in green garments came to him and brought him a cup of the water of immortality.
Stanza 2.—See Note to Stanza 1 of Poem III.
Stanza 5.—“Narrow-eyedness” is the exact translation of the Persian word for greed, and there is consequently, in the original, a play of meaning between the physical and moral attributes of the Tartars.
It is significant that Hafiz should choose the “narrow-eyed” Tartar robbers as types of cruelty. Just as the Anglo-Saxons prayed to be delivered from the Danes, so a clause in the Persian litany of the thirteenth and fourteenth centuries might have been: “From the power of the Tartars, good Lord, deliver us!” First under Hulagu, and then under Timur, they overran and devastated Persia. The destruction wrought by them was very similar to that wrought by the Arab conquerors in the Roman provinces of North Africa. They rased to the ground great cities; they reduced populous and fertile regions to a barren desert by breaking down the old reservoirs and destroying the irrigating system, completely changing the physical conditions of parts of the country. In the mountains to the north of Tehran, for instance, there are villages bearing names the etymology of which points to their having stood at the outlet of a reservoir of which no other trace remains, and it is said that the country surrounding the town was far more thoroughly irrigated before the Tartar invasion, and supported a larger population. The invaders completely destroyed the ancient city of Rhages, which lay at a distance of about three miles from the modern capital. The same thing happened in North Africa. The ruins of Roman towns are to be found in country which must once have been fertile, but which is now reconquered by the sands of the Sahara.
“One poor robe.” The Persian runs “man dervish-i-yek kaba ”—i.e. I, a poor man of one robe—dervish signifying in its primary sense, it is hardly necessary to say, poor. I should think that the double meaning is significant. In its mystical sense, the poem describes how Hafiz found consolation in the ecstatic drunkenness of the Sufis, in the minstrel’s song, or divine message, which brought him a word from God; and when finally the last shred of his orthodoxy had been tom from him, when in his desperate struggle with existence he was forced to abandon even his dervish robe, Heaven mercifully showed him a safe refuge in the Sufi doctrines.
Stanza 1.—Sir Henry Layard gives the following account of a party of dervishes with whom he travelled, from which it would appear that the contempt of Hafiz for the dervish habit was not wholly uncalled for: “They were a picturesque and motley crew. One or two of them were what the Persians call luti, young men with well-dyed curls, long garments, and conical caps embroidered in many colours—debauched and dissolute fellows, who, under the guise of poverty, and affecting abstinence and piety, were given to every manner of vice. Others were half-naked savages, with hair hanging down their backs, and the skins of gazelles on their shoulders—barefooted, dirty, and covered with vermin. They carried heavy iron maces, and seemed more disposed to exact than to ask for charity. As they went along they shouted ‘Yah Allah! yah Muhammad! yah Ali!’ They all had slung from their shoulders the carved cocoa-nut shell, which is indispensable to the dervish, and serves for carrying food and for drinking purposes. Round their necks they wore charms and amulets, with beads and coloured strings and tassels.”He goes on to say: “Most Persian dervishes, although they have great pretensions to sanctity, by which they impose upon the people, high and low, are without any religion. They are, however, credited with working miracles, and with being able to give efficacious charms. . . . Although these dervishes are rank impostors, and generally arrant scoundrels, they maintain their influence over the ignorant and superstitious Persians of all classes, who greatly fear, and do not dare to offend them. Consequently no one ventures to refuse them admission into their houses, and even into the women’s apartments, where those who go stark-naked, and are looked upon as specialty holy and protected by Allah and Ali, can enter with impunity. Sometimes they will demand a specific sum of money from a rich man, and if he refuses to pay it, will establish themselves in the gateway or porch of his dwelling, or outside close to it, and enclosing a small plot of ground, sow wheat or plant flowers, and remain until what they ask for is paid them, hooting hideously day and night, calling upon Mohammad, Ali, and the Imams, or blowing on a buffalo’s horn so as to disturb the whole neighbourhood. The owner and inmates of the house are helpless. They do not dare to remove by force the holy men.”—Early Adventures.
Stanza 2.—That is to say, the prayer-carpet of the orthodox Mussulman had not enough value to procure for him so much as one glass of Sufi wine. Nor was he worthy to lay his head even upon the dusty steps of the tavern—the place of instruction in Sufi doctrine.
Stanza 3.—To be clothed in one colour is the Persian idiom for sincerity. He means that the single purple robe of the grape is worth more than the hypocritical garment of the dervish, all torn and patched with long journeying-in the wrong road.
Stanza 5.—So far I have endeavoured to give the mystical interpretation of the poem. There is, however, a story attached to it which turns it into a historical rather than a theological document. It is related that the King of the Deccan, Mahmud Shah Bahmani, had heard of the fame of Hafiz, and having a pretty taste in literature, was desirous of attracting him to his court. Accordingly he ordered his Vizir, Mir Feiz Allah Inju, to send the poet a sufficient sum to pay for his journey from Shiraz. Hafiz resolved to accept the invitation. He wound up his affairs in his native town, using some of the money the Sultan had sent him in paying his debts and in making gifts to his sister’s children, and set forth upon his journey. But when he reached the town of Lar he found there an acquaintance in very bad case, having been plundered by robbers and reduced to a state of beggary. Hafiz was moved to compassion and gave him the remainder of the money which Mahmud Shah had sent to him. He was now himself unable to continue his journey for want of means, and perhaps it was bitter experience that taught him that in very fact his prayer-carpet would not fetch him a glass of wine, and that without the necessary silver pieces he would be thrust from out the tavern doors. From these straits he was rescued by two friendly merchants, who were also on their way to India, and who offered to pay his expenses to Hormuz, and there place him on a vessel of Mahmud Shah’s which was coming to fetch them. Hafiz accepted the offer, went to Hormuz, and embarked on the ship. But before they had left the port a violent storm arose, and persuaded the poet that no advantages he might reap from the journey would be worth the sorrow of the sea. Under pretext of bidding farewell to some friends, he disembarked, and in all haste made the best of his way back to Shiraz, sending to Feiz Allah this poem as an excuse for failing to keep his engagement. The Vizir read it to Mahmud Shah, who was transported by the beauty of the verses and the philosophic dignity in which Hafiz had cloaked his fears of the dangers of the road and the discomforts of seasickness. With singular generosity he sent the defaulting poet a further present, consisting of some at least of the riches of his lands and seas.
This poem is said to have been written by Hafiz; upon the death of his wife.
Stanza 5.—Shah Shudja, as has been related in the Introduction, was not always on the best of terms with Hafiz, partly because he was jealous of the latter’s fame as a poet, and partly because Hafiz had been the protégé of Shah Shudja’s former rival, Abu Ishac. Accordingly the King looked about for some means of doing the poet an injury, nor was it long before he found what he sought. He accused Hafiz of denying the Resurrection, basing the accusation upon the last couplet of this poem—the last three lines of the present translation and cited him before the Ulema as an infidel. But Hafiz; was too many for him. Before the day on which he was to answer the charge against himself, he inserted another couplet into the ode, in which he stated that the dangerous lines did not express his own opinion, but that of a heretical Christian. He came off with flying colours; for not only was he entirely cleared, but it was also acknowledged that he had dealt a good blow on behalf of the Mahommadan religion, since he had shown up one of the errors of the infidel.
Stanza 1.—There are many ways of taking omens which are still practised by the Persians. Concerning astrology and geomancy Mr. Browne questioned a learned Persian, and received the reply that there was positive proof of their truth. The Persian added, however, that the study of these sciences was very difficult, and many who professed to be acquainted with them were mere charlatans. Many dreams also, he said, were capable of interpretation, and might furnish indications to events which were yet to come. Mr. Browne relates that he consulted a geomancer, who, by means of dice, gave him much information as to his future none of which has yet been justified by the event-but on being asked to perform the less difficult task of answering some questions as to his past, turned the conversation into other channels. “I discussed,” says the traveller, “the occult sciences with several of my friends, to discover as far as possible the prevailing opinion among them. One of them made use of the following argument to prove their existence: ”God,“ he said,” has no bukhl (avarice); it is impossible for Him to withhold from any one a thing for which he strives with sufficient earnestness. Just as if a man devotes all his energies to the pursuit of spiritual knowledge he attains to it, so if he chooses to make occult sciences and magical powers the object of his aspirations they will assuredly not be withheld from him.”—A Year Amongst the Persians.
An omen can be taken by opening the Koran or some other well-accredited book (the Divan of Hafiz among the number), pricking a pin into the page, and following whatever directions can be drawn from the verse thus indicated. This method is frequently used before setting out upon a journey. The stars also are consulted in order to select a favourable day for embarking upon any enterprise, certain stars having special influence over men—the influence of the moon, for instance, is dangerous to life, and one of the stars in the constellation of Cassiopea is of evil presage. Besides these omens, divinations are taken from the movements and position of certain animals and birds, and from various passing events. To meet a one-eyed man is of bad omen, especially if he is blind of the left eye, or to hear an unlucky word on setting out from your house of a morning. Lane, in one of his notes to the “Arabian Nights,” tells of a Sultan who was setting out on a raid, when one of his standards happening to strike against a cluster (or Pleiades, as they are called in Arabic) of lamps, he regarded this to be of evil import, and was about to abandon the expedition. “Oh our lord!” said one of his officers, “our standards have reached the Pleiades.” The Sultan, encouraged by this fortunate suggestion, continued on his way, and returned victorious.
Stanza 2.—For Djemshid, see Note to Stanza 2 of Poem II. He was the fourth king of the First or Pishdadian dynasty, and is supposed to have flourished eight hundred years before the Christian era. Firdusi says he reigned seven hundred years. Kaikobad was the founder of the Second dynasty, the Kayanian. He was set upon the throne by the hero Rustum, son of Zal. It was in his reign that Rustum overcame Afrasiab’s arrny, killing his own son in the battle “by the great Oxus stream, the yellow Oxus,” a story which all readers of Matthew Arnold know. Kaikobad is said to have reigned one hundred and twenty years. Bahman, another member of the Kayanian house, is better known to the Persians as Ardisher Dirazdast, the Artaxerxes Longimanus of the Greeks. He came to the throne in B.C. 464. He was the grandson of Darius, the Persian Gushtasp. He is supposed to have been the Ahasuerus of Scripture who married Esther. Persian historians ascribe to him also remarkable longevity, and state that he reigned one hundred and twelve years. Kaikaus, mentioned in the next stanza, was the son of Kaikobad, second king of the Kayanian dynasty; Kai may be Kaikhusro, the third king of the same dynasty.
Stanza 3.—The loves of Ferhad and Shirin are famous in Persian legend. Shirin is called by some Mary, and by others Irene. The Greeks describe her as a Roman by birth and a Christian; the Turks and the Persians say that she was a daughter of the Emperor Maurice, and wife of Khusro Parwiz, who came to the Persian throne in A.D. 591. It was Khusro Parwiz who conquered Jerusalem, and carried off, say the Persians, the true Cross, which had been enclosed in a gold box and buried in the ground. He was devotedly attached to his wife Shirin, but she had given her heart to her humble lover Ferhad. He, despairing of ever reaching one whose rank had placed her so far above him, wandered through the deserts and the mountains of Persia calling upon her name, and in order to beguile his weary hours executed the sculptures upon the rock Behistun—so says the legend. At length the King sent to him and told him that if he would cut through the rock and cause a stream upon the other side of the mountains to flow through it, he would relinquish Shirin to him. Ferhad set himself to the task, and had almost accomplished it when Khusro sent him the false news of Shirin’s death. On hearing it, Ferhad threw himself from the top of the rock and so died. Shirin’s end was scarcely less tragic. Khusro Parwiz was put to a violent death by his son, who proceeded to make proposals of marriage to his father’s widow. Shirin promised to marry him if he would allow her to see once more her husband’s corpse. She was led to the place where the murdered King lay, and drawing a dagger, she stabbed herself and fell dead across his body.
It is difficult to conceive anything more exquisite than the little scarlet tulip growing upon a barren Persian hillside. On the top of a bleak pass over the mountains between Resht and Tehran, I have seen companies of tiny tulips shining like jewels among the dust and stones.
There is a tradition that this poem was sent to the King of Golconda.
Stanza 1.—According to Oriental belief, Jesus Christ’s gift of healing was due to a miraculous quality in His breath.
Stanza 3.—Maghilan, a thorny shrub which grows on the deserts of Arabia near to Mecca. When the pilgrims see it they know that they have almost reached their goal, and forget the hardships of the journey and the barrenness of the wastes through which their road lies.
Stanza 1.—Khizr—see Note to the third stanza of Poem XVIII.
Stanza 2.—The quarter of Jafrabad has ceased to exist. Its position was to the east of the town, opposite to the fields and to the ruined mosque of Mosalla. Between Jaftabad and Mosalla runs the highroad to Isfahan, traversing, at the distance of a mile from Shiraz, the pass of Allahu Akbar.
The angel Gabriel, the Holy Spirit, is the highest of all the angels. It is his duty to write down the decrees of God; through him the Koran was revealed to Mahommad, and it is he who, hovering above the throne of God, shelters it with his wings. Hafiz therefore claims for Shiraz the protection of him who is guardian of the highest place in heaven.
Ibn Batuta, the Arab traveller who visited Shiraz about the year 1340, has left a charming description of the native town of Hafiz and of the manners of his contemporaries. “Shiraz,” he says, “is a well-built town of a great size, a wide celebrity, and a high place among cities. It possesses pleasant gardens, far-reaching streams, excellent markets, fine streets, and a numerous population. The town is constructed with taste and admirably arranged; each trade has its own bazaar. The inhabitants are a fine race and well clad. Shiraz lies in a plain; gardens surround it on every side; and five rivers flow through it, amongst them one called Ruknabad, a stream of which the water is excellent to drink, very cold in summer and warm in winter. The principal mosque is called the Old Mosque; it is as spacious and as well built as any one could wish to see. The court of it is vast and paved with marble; in hot weather it is washed with fresh water every night. The wealthy citizens come there every evening to repeat the prayers of sunset and of night. The inhabitants of Shiraz are well-to-do, pious, and chaste; the women in particular are distinguished for their modesty. They go completely veiled, give much in alms, and repair three times a week to the great mosque. Often as many as two thousand are assembled there, sitting with fans in their hands on account of the great heat. Each day in one of the mausoleums the whole Koran is read aloud, and the readers have very beautiful voices. The people bring with them fruits and sweetmeats, and when the congregation has finished eating, the preacher begins his discourse. This takes place between the mid-day and the evening prayers.” Ibn Batuta struck up acquaintance with a Sheikh whom he found seated in a small hermitage at the corner of a mosque. The Sheikh was engaged in reading the Koran. In answer to Ibn Batuta’s questions, he told him that he had founded the mosque himself, and that the hermitage was to be his tomb. Lifting a carpet, he showed him his grave, covered over with planks. In that box,“he said, pointing to a chest opposite to him, are my winding-sheet, some spices with which my corpse will be perfumed, and a few pieces of money which I earned by digging a well for a pious man. The money will serve to pay for my burial, and what is left over will be distributed among the poor.” “I admired his conduct,” adds Ibn Batuta. “One of the mausoleums outside the town,” he continues, “contains the tomb of Sheikh Sa’di, the first poet of his time. Close at hand is a hermitage built by Sa’di himself, surrounded by a charming garden. It is situated near the source of the Ruknabad. In the garden Sheikh Sa’di constructed a number of basins for the washing of clothes. The citizens of Shiraz make parties of pleasure to this mausoleum; they eat food prepared in the hermitage, wash their garments in the river, and at sunset return to the town. So did I also. May God have mercy on Shiraz!” he concludes piously.
Stanza 3.—The month of Sha’aban is the eighth month of the Arabic year. It is followed by Ramazan, during which month the Prophet decreed that from two hours before dawn until sunset nothing should pass the lips of his followers. The fast is so strictly observed, especially by the lower orders, that not only do they refrain from eating and drinking, but they will not even smoke until the sunset gun puts an end to the day’s abstinence. The night, however, is passed in feasting and revelry, and the richer classes will sleep late in Ramazan and shorten the long hours that must pass before they may breakfast.
Stanza 3.—According to the popular science of the East, the colouring of precious stones, even of those which are buried deep in the earth, is due to the action of rain and wind and of the rays of the sun.
Stanza 4.—It is a favourite Persian image to describe the hair of the beloved as entangling and entrapping the unfortunate lover. Her long locks are often compared to deadly snakes, and her curls to hooks which catch and tear her lover’s heart. One need go no further than the Merchant of Venice to find the same imagery used by a Western poet: “Those crisped snaky golden locks,” and again, “A golden mesh to entrap the hearts of men faster than gnats in cobwebs.”
Stanza 1.—The story of the creation of Adam, and of the part played in it by the angels, is told by Mahommad in the following terms: “When thy Lord said unto the angels, I am going to place a substitute on earth; they said, Wilt thou place there one who will do evil therein, and shed blood? but we celebrate thy praise and sanctify thee. God answered, Verily I know that which ye know not; and he taught Adam the names of all things, and then proposed them to the angels, and said, Declare unto me the names of these things if ye say truth. They answered, Praise be unto thee, we have no knowledge but what thou teachest us, for thou art knowing and wise. God said, Oh Adam, tell them their names. And when he had told them their names, God said, Did I not tell you that I know the secrets of heaven and earth, and know that which ye discover and that which ye conceal? And when we said unto the angels, Worship Adam; they all worshipped him, except Eblis, who refused, and was puffed up with pride, and became of the number of unbelievers.”—Koran, chap. ii.
Tradition has amplified and adorned this story. It is said that the three archangels, Gabriel, Michael, and Israfil, were each in turn ordered to take from the earth seven handfuls of clay of three different colours, red, white, and yellow, that God might create out of it the races of mankind. But each in turn was moved by the earth’s prayer that he would not rob her of her substance, and each returned to heaven empty-handed. The fourth time God sent Azrail, the angel of death, who tore the seven handfuls from the earth, but hearing her lamentations, promised her that when man ceased to live his substance should return to the earth from whence it had been taken. With the clay that Azrail brought him God moulded the figure of man, and when it was finished he left it forty days to dry. The angels came often to gaze upon it, and Eblis, kicking it with his foot, found that it rang hollow. When the figure of clay was dry, God breathed the breath of life into its nostrils, and ordered the angels to submit to the man he had created. But Eblis refused, saying that he had been created of pure fire, and would not serve a hollow mould of clay; for which reason God cast him out of Paradise. The rest of the angels acknowledged the superiority of Adam after God had made him tell them the names of all the creatures of the earth, though they had at first protested that it was not seemly that they should bow down to him, for their love for God was greater than his. It is with this legend in his mind that Hafiz speaks of the angels as standing at the tavern door, where man may enter and receive instruction in God’s wisdom, but where they must knock in vain, and as moulding a wine-cup with the despised clay out of which the human body was moulded. I think he means that man himself is the vessel into which divine love and wisdom are poured; and when he says that the angels first brought him wine, he means that by their example they showed him what it was to be intoxicated by the contemplation of God.
Stanza 3.—“Concerning the forbidden fruit,” says Sale in a note to the second chapter of the Koran, “the Mohammadans, as well as the Christians, have different opinions. Some say it was an ear of wheat, some will have it to have been a fig-tree, and others a vine.”
There are supposed to be seventy-two sects in Islam. Many Mahommadan writers compare them to the seventy-two branches of the family of Noah after the Babylonian confusion of tongues and the dispersal of the children of Adam.
Stanza 1.—The second line of this poem is as often quoted as any, perhaps, in the Divan: “ Yàd bàd àn ruz-i-gàràn, yàd bàd!” A man will set it upon a letter to an absent friend, even when he is not particularly anxious that days gone by should be preserved from oblivion; and how often must the simple little line have been used by those to whom its very simplicity made it more poignant than pages of sentiment!
Stanza 3.—The Zindeh Rud was a river that flowed past Isfahan. There are unfortunately no longer rose-gardens upon its banks, for it disappeared completely in the terrible earthquake which occurred in the spring of the year 1853. I suspect from internal evidence that this poem was sent to some friends of Hafiz living at Isfahan, upon whom the passionate appeal need refiect no discredit, since it may quite possibly be merely the Oriental way of writing a letter of thanks. At the same time, in spite of this rational explanation, it must be acknowledged that the meaning of the name Zindeh Rud is River of Life. I tremble to think into what a slough of mysticism the innocent little stream might be induced to guide us!
Stanza 2.—“Love and Faith,” says Rosenzweig, is the name of a well-known Persian story which has been retold by many writers.
Stanza 4.—See Note to Stanza 4 of Poem XXXIII.
The word bezoar comes from two Arabic roots which signify the annihilator of poison. Murray gives several examples of its use by seventeenth and eighteenth century writers in the sense of an antidote, chiefly to snake bites. Topsell, for instance, in his book on Serpents (1607), remarks that “the juice of apples being drunk, and endive, are the proper Bezoar against the venom of a Phalangie”—whatever that may be. The word was also applied to various substances held as antidotes, especially to a concretion found in the stomach of some animals, formed of concentric layers of animal matter deposited round some foreign substance. This concretion was called the bezoar stone. The original sort was the lapis bezoar orientale obtained from the wild goat of Persia, which was in later times called the bezoar goat; also from various antelopes, &c. The lapis bezoar occidentale, obtained from the llamas of Peru, was less valued. The chamois yielded German bezoar. “The stone,” says Frampton, in his “Joyful News,” is called the Bezaar, being approved good against Venome“ and Hawkins, in his ”Voyage to the South Seas,“ talks about ”the becunia and other beasts which breed the beazer stone.”
Stanza 1.—It is related that Ghiyasuddin Purabi, who succeeded his father to the throne of Bengal in the year 1367, fell sick. During his illness he was nursed by three faithful handmaidens whose names were Cypress, Tulip, and Rose, and owing to their care he eventually recovered. The rest of the Sultan’s ladies were jealous of the gratitude that the three maidens had earned from Ghiyasuddin, and nicknamed them contemptuously “the three bath women,” because they had washed the King’s body while he was ill. He therefore determined to do them honour by commemorating their devotion in a poem, and to this end he composed the first line of a couplet, and ordered the poets of his court to complete the ode. The line ran thus: “Sàki hadis-i-sarvo gul o làleh miravad”—Cup-bearer, a tale runs of a Cypress, a Rose, and a Tulip. But the poets were unable to perform the task to the King’s satisfaction, and at length some one suggested that the line should be sent to Hafiz of Shiraz, the fame of whose great skill had reached Bengal. This was accordingly done, and Hafiz composed the ode here translated, with which the Sultan (whose taste seems to have turned towards the discursive in poetry) was much delighted. The three cups of wine are an allusion to the three maidens who washed the King’s body; the parrots of India are the court poets of Ghiyasuddin, and the Persian sweetmeat is the ode that Hafiz sent to Bengal.
Stanza 4.—Samir. Al Samiri belonged, say the Mahommadans, to a certain tribe among the Jews called the Samaritans, whence his name. In this the Mahommadans strangely betray their ignorance of history, for the Samaritans were not formed into a people, nor did they bear that name, until many ages later. Some say that he was a proselyte, but a hypocritical one, and originally of Kerman or some other country. His real name was Musa ibn Dhafar. He was a magician and an alchemist. Pharaoh employed him as a rival to Moses when the latter worked miracles with his hand and his staff, but Al Samiri was unable to show wonders as great as those performed by Moses. It was he and not Aaron, according to Mahommadan tradition, who cast the golden calf. The calf was made of the ornaments of gold and silver and other materials which the Israelites had borrowed from the Egyptians; for Aaron, who commanded in his brother’s absence, having ordered Al Samiri to collect those ornaments from the people, who carried on a wicked commerce with them, and to keep them together till the return of Moses, Al Samiri, understanding the founder’s art, put them all together into a furnace, to melt them down into one mass, which came out in the form of a calf. The Israelites, accustomed to the Egyptian idolatry, paying a religious worship to this image, Al Samiri went further, and took some dust from the footsteps of the horse of the angel Gabriel, who marched at the head of the people, and threw it into the mouth of the calf, which immediately began to low, and became animated; for such was the virtue of that dust. (Sale, Notes to second and twenty-second chapters of the Koran.) Al Simiri is mentioned by name in the twenty-second chapter of the Koran: “Al Samiri led them astray.”
Stanza 2.—According to Persian superstition, the smoke of burning rue has the power to avert the evil eye.
Stanza 1.—Khizr. See Note to Stanza 3 of Poem XVIII.
Stanza 3.—Zohra is the planet Venus, the musician of the heavens, and the protector of all musicians and singers upon the earth. Zohra played a part in very ancient mythology. The Mahommadans borrowed and adapted the Magian legends concerning her, and their account runs as follows: Once upon a time the angels fell to marvelling over the wickedness of man and the case with which he was led astray, notwithstanding the warnings sent down to him through the prophets. But God, hearing their words, determined to expose them also to temptation, that they might learn how easy it was to fall. Therefore he appointed two of them, whose names were Harut and Marut, to go down to the earth as judges over man, and he taught them a secret word by the power of which every evening, when their work of judgment was done, they could return to heaven. For some time the two angels accomplished their duties faithfully. But at length a woman called Zohra, more beautiful than any other woman upon earth, came before their judgment-seat demanding redress against her husband, and the two angels conceived a violent passion for her. On the following day, when she returned with the same petition, they drew her aside and declared their love to her. She replied that she would satisfy their desires if they would do three things: destroy her husband, worship the gods she worshipped, and drink wine. Murderers and idolaters the angels could not agree to become, but they consented to drink wine, “not knowing,” says the Persian commentator of the Mesnavi of Jelaleddin Rumi, “that wine was the source of sin and the mother of shame.” Then said Zohra: “Every night, by the power of a divine word, ye return to heaven. Teach me also that word.” The angels confided to her the secret of God, and as soon as she had heard the word she pronounced it in her turn and rose up into heaven, where God changed her form and turned her into a star. The angels attempted to follow her to heaven, but they were refused admittance. On the intercession of a very pious man, however, they were allowed to choose whether they would be punished in this world or the next; they chose the former, and now suffer punishment in the land of Babel—whither, if any man have a mind to learn magic, he may go and learn it of them, for they are masters of all magic arts. Tradition says that Mahommad, whenever he looked upon the planet Venus, was wont to exclaim: “God curse Zohra! for it was she who led the two angels Harut and Marut into sin.”
The same story, says Rosenzweig, is to be found in the Talmud, where the two angels are called Asa and Asail. The Talmud relates that the angels, after their sin, were carried into a great mountain and suspended by chains over an abyss. It was they who taught Solomon wisdom.
Stanza 4.—For the superstition concerning the origin of precious stones, see Note to Stanza 3 of poem XXXIII.
This ode is inscribed upon the tomb of Hafiz.
THE END